黄维耀，男，汉族，笔名黄河浪，号大井居士。于1949年9月出生，福建福州闽安人，国家特级书法师，著名书法家，现为中国书法家协会理事，中国楹联学会会员，沈鹏书法艺术工作室专家组高级理事，福建省残疾人福利基金会积善书画院院委，《书法报》书画天地艺术联盟理事会理事。
曾参加国内外各类书画大展赛，获等级奖百余次。入选人民日报 海外版“中华艺苑名家”专栏。近年来，被相关文化单位与艺术部门 授予“中国书画艺术专业拔尖人才”、“全国模范书法家”、“中华 文艺复兴贡献人物”、“最具影响力书法家”、“感动中国艺术人物”、“德艺双馨书法家”、“实力派书法家”等数十个荣誉称号。书法作 品及艺术传略入编大型画册《一代名家》、《翰墨丰碑》等国内外一 百三十多部典籍和《中国书画收藏》、《中华文化画报》、《华人艺 术大师》、《海内外名人名家》、《中俄朝艺术大家三人行》，并由人民美术出版社出版的《华人风采》等国家级核心刊物。
自幼痴迷书画，长期游艺于基层，数十年笔耕不缀。为弘扬中华 民族优秀传统文化，推动农村精神文明建设做出了积极的努力。书法 作品深受社会各界人士、各级政府相关部门、领导及广大人民群众的 肯定与好评。许多书作镌刻于国家、省市及地方名胜景区，并被美国、加拿大、日本、韩国、新加坡、香港、台湾等海内外社团及友人收藏。鉴于此，被国家原文化部授予“中国十大名家”、“神笔传奇艺术家”、“华人风采人物”等荣誉称号。2015年12月，被中共中央宣传部评为“杰出人物”;被人民日报社评为“先进个人”。2016年5月18号，被中国书法家协会授予“当代书画作品最具有收藏价值的100位名家”荣誉称号;同年6月21号，被中国文联授予“国家优秀艺术家”荣誉称号;7月18 日，被人民日报社评为2016年杰出人物。2018年01月25 日被中国文联授予“德艺双馨书画名家”荣誉称号。2020年3月，被国礼艺术家官网评为2020年最具收藏价值艺术家，2020年 6月被聘为“中国政企艺术品采购大联盟副主席”，2020年6月被聘为“世界青年文明论坛书画创作委员会委员”。2021年12月份，作品在北京地铁一号线文化专列展出。
Huang Weiyao, male, Han nationality, pen name Huanghe Lang, nickname Daijing Jushi. Born in September 1949 in Min’an, Fuzhou, Fujian, China, he is a national top-notch calligrapher and a famous calligrapher. He is currently a member of the Chinese Calligraphers Association, the Chinese Couplet Society, a senior member of the expert group of Shen Peng Calligraphy Art Studio, a member of the Fujian Disabled Persons Welfare Foundation Jishan Calligraphy and Painting Academy, and a council member of the Calligraphy Daily Calligraphy and Painting World Art Alliance.
I have participated in various calligraphy and painting exhibitions both domestically and internationally, and have won over a hundred level awards. Selected for the column “Famous Artists in Chinese Art Garden” in the Overseas Edition of People’s Daily. In recent years, it has been awarded dozens of honorary titles by relevant cultural units and art departments, including “Top Talents in Chinese Calligraphy and Painting Art”, “National Model Calligrapher”, “Contributing Figure to the Chinese Renaissance”, “Most Influential Calligrapher”, “Touching Chinese Art Figure”, “Moral and Artistic Shuangxin Calligrapher”, and “Strength Calligrapher”. Calligraphy works and artistic biographies have been included in over 130 domestic and foreign classic works such as the large-scale art book “A Generation of Famous Artists” and “Hanmo Monument”, as well as national core publications such as “Chinese Calligraphy and Painting Collection”, “Chinese Culture Pictorial”, “Chinese Art Masters”, “Celebrities and Famous Artists at Home and Abroad”, “Three Great Artists of China, Russia, and North Korea”, and “Chinese Style” published by the People’s Fine Arts Publishing House.
I have been obsessed with calligraphy and painting since I was young, and have been playing at the grassroots level for a long time. I have been working tirelessly for decades. We have made positive efforts to promote the excellent traditional culture of the Chinese nation and promote the construction of rural spiritual civilization. Calligraphy works have been highly recognized and praised by people from all walks of life, relevant government departments at all levels, leaders, and the general public. Many books are engraved on national, provincial, and local scenic spots, and are collected by domestic and foreign societies and friends in the United States, Canada, Japan, South Korea, Singapore, Hong Kong, Taiwan, and other places. In view of this, he has been awarded honorary titles such as “Top Ten Chinese Masters”, “Legend Artist of Divine Brush”, and “Chinese Talent” by the former Ministry of Culture of the People’s Republic of China. In December 2015, he was awarded the title of “Outstanding Person” by the Propaganda Department of the Central Committee of the Communist Party of China; It was rated as “exemplary individual” by the People’s Daily. On May 18, 2016, he was awarded the honorary title of “Top 100 Contemporary Calligraphers and Painters with the Most Collectible Value” by the Chinese Calligraphers Association; On June 21 of the same year, he was awarded the honorary title of “National Excellent Artist” by the China Federation of Literary and Art Circles; On July 18th, he was recognized as an outstanding figure in 2016 by the People’s Daily editorial. On January 25, 2018, he was awarded the honorary title of “Deyi Shuangxin Calligraphy and Painting Master” by the China Federation of Literary and Art Circles. In March 2020, he was rated as the most collectible artist of 2020 by the official website of Guoli Artists. In June 2020, he was appointed as the Vice Chairman of the China Government Enterprise Art Procurement Alliance. In June 2020, he was appointed as a member of the Calligraphy and Painting Creation Committee of the World Youth Civilization Forum. In December 2021, his work was exhibited on the Beijing Metro Line 1 Culture Special Train.
【评语】
黄维耀作书，速度极快，笔力奇重，作字胆大，执笔在手，盘旋 飞舞，极其灵动。他作书主转指，转指时最用力，笔笔送到。他认为 书写时只有转指运腕才能得势，而运腕要视情况而定。写书写经，则 章程书之流也。碑碣摩崖，则铭石书之流也。章程以细密为准，则宜 用指。铭石以宏廓为用，则宜用腕。因所书之宜适，而字势异，笔势 异，手腕之异。黄维耀书写小字用笔精细，秀妍流畅，笔画灵活。其 写大字“运腕 ”受到碑派的影响，追求苍茫、道劲的笔道和金石气， 笔画更有力。黄维耀行草作品结构善用“疏 ”，一字之中必有空阔处 且注重轻重虚实的对比，以显其“疏流 ”态，产生整体上旷阔静远的 美感。书作《竹石》，作品不着意安排，信马由缰，一任自然。总的 笔法基调注重笔墨轻灵虚和，结构歆侧多变，章法通脱自然，古朴典 雅，充满疏淡意味，墨趣横生。黄维耀从晋人风韵中，稍稍出以已意 构筑成秀雅的意境，以其高华的气格打动人心。因此，疏淡不仅成为 黄维耀书法区别于其他书家的一个重要特征，而日成为黄维耀书法的种审美品格
黄维耀的书法师承“二王 ”一脉，功力深厚。其作品不卑不亢不 媚不陋，不俗不僻，舒缓而古雅，追求一种自然清逸、恬淡如菊的冲 和之气。书法格调表现为风发峻茂，清秀朗逸，含蓄委婉，刚柔相济， 透出浓浓的书倦味道。魏晋书法中那种淡泊平和，真气弥漫，追求自然人文之道的风尚，在黄维耀的作品中得到了比较充分的表现和展示。
Huang Weiyao wrote a book at an extremely fast speed, with a strong brushstroke and bold handwriting. He held the pen in his hand, hovering and dancing, extremely agile. He turned his fingers as the main calligrapher, using the strongest force to deliver the pen and brush. He believes that only by turning his fingers and wrist movements can he gain momentum when writing, and the wrist movements depend on the situation. Writing scriptures is like a charter. Steles on cliffs are like inscriptions on stone books. If the articles of association are based on precision, it is advisable to use the term ‘refers to’. If the inscription is made with a large outline, it is advisable to use a wrist. Due to the suitability of the book, there are differences in character style, stroke style, and wrist movements. Huang Weiyao uses a delicate pen to write small characters, with graceful and smooth strokes. His writing of the large character “Yun wrist” was influenced by the stele school, pursuing a vast and powerful brushstroke style and the aura of gold and stone, making the strokes more powerful. Huang Weiyao’s cursive works are well structured with the use of “sparsity”. Every character must have a spacious space and pay
attention to the contrast between light, heavy, virtual, andreal, in order to demonstrate its “sparsity” state and create an overall aesthetic sense of openness, tranquility, and distance. The book “Bamboo and Stone” is not deliberately arranged, and the horse is at ease. It is natural. The overall tone of the brushstroke emphasizes the lightness, flexibility, and harmony of the strokes, with a versatile structure and natural composition, simple and elegant style, full of sparsity and charm. Huang Weiyao, from the charm of the Jin people, slightly constructed a beautiful artistic conception with his own intention, and moved people’s hearts with his lofty and magnificent style. Therefore, sparsity has not only become an important characteristic that distinguishes Huang Weiyao’s calligraphy from other calligraphers, but has also become anaesthetic character of Huang Weiyao’s calligraphy
Huang Weiyao’s calligraphy master inherits the lineage of the “Two Kings” and has profound skills. His works are neither humble nor overbearing, neither flattering nor ugly, neither vulgar nor secluded, gentle and elegant, pursuing a natural and elegant, tranquil and harmonious atmosphere like chrysanthemums. The calligraphy style is characterized by a strong and vigorous style, a clear and elegant style, a subtle and gentle tone, a combination of hardness and softness, exuding a strong sense of book fatigue. The style of being in different and peaceful, full of genuine energy, and pursuing the path of nature and humanity in Wei and Jin calligraphy has
been fully expressed and demonstrated in Huang Weiyao’s works.
